Drawing on a variety of interdisciplinary debates in cultural studies and contemporary theory, Modernism, Inc. provides a new look at the relationship between modernism and postmodernism within the critical frame of twentieth-century American culture. Organized around the idea of "incorporation"--embodiment, repressed memory, and advanced capitalism--Modernism, Inc. covers a wide range of topics: Josephine Baker's "hot house style"; the president's penis in American political life; myth-making and the Hoover Dam; trauma, poetics, and the Armenian genocide; feminist kitsch and the recuperation of North America's "Great Lady painters"; Gertrude Stein and Jewish Social Science; the Reno Divorce Factory and the production of gender; Andy Razaf and Black Bolshevism. Collectively, the essays suggest that the relationship between the modern and the postmodern is not one of rupture, belatedness, dilution, or extremity, but of haunting. Modernism, Inc. looks at our ghosts, and at the unspeakable secrets of modernity from which they're derived. Contributors: Maria Damon, Walter Kalidjian, Walter Lew, Janet Lyon, William J. Maxwell, Cary Nelson, John Timberman Newcombe, David G. Nicholls, Thomas Pepper, Paula Rabinowitz, Daniel Rosenberg, Marlon Ross, Jani Scandura, Kathleen Stewart, Julia Walker.

Modernism: An Anthology is the most comprehensive anthology of Anglo-American modernism ever to be published. Amply represents the giants of modernism - James Joyce, Gertrude Stein, Virginia Woolf, T.S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett. Includes a generous selection of Continental texts, enabling readers to trace modernism’s dialogue with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School. Supported by helpful annotations, and an extensive bibliography. Allows readers to encounter anew the extraordinary revolution in language that transformed the aesthetics of the modern world .

American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.

Deafening Modernism tells the story of modernism from the perspective of Deaf critical insight. Working to develop a critical Deaf theory independent of identity-based discourse, Rebecca Sanchez excavates the intersections between Deaf and modernist studies. She traces the ways that Deaf culture, history, linguistics, and literature provide a vital and largely untapped resource for understanding the history of American language politics and the impact that history has had on modernist aesthetic production. Discussing Deaf and disability studies in these unexpected contexts highlights the contributions the field can make to broader discussions of the intersections between images, bodies, and text. Drawing on a range of methodological approaches, including literary analysis and history, linguistics, ethics, and queer, cultural, and film studies, Sanchez sheds new light on texts by T.S. Eliot, Ezra Pound, Gertrude Stein, William Carlos Williams, Charlie Chaplin, and many others. By approaching modernism through the perspective of Deaf and disability studies, Deafening Modernism reconceptualizes deafness as a critical modality enabling us to freshly engage topics we thought we knew.

Presents an account of a key period in American graphic design as it manifested itself in various media, covering major historical influences and significant works.

This is a brilliant, provocative long essay on the rise and fall and survival of modernism, by the English-languages' greatest living cultural historian.

Early Modernism is a uniquely integrated introduction to the great avant-garde movements in European literature, music, and painting at the beginning of this century, from the advent of Fauvism to the development of Dada. In contrast to the overly literary focus of previous studies of modernism, this book highlights the interaction between the arts in this period. It traces the fundamental and interlinked re-examination of the languages of the arts brought about by Matisse, Picasso, Schoenberg, Eliot, Apollinaire, Marinetti, Ben, and many others, which led to radically new techniques, such as atonality, cubism, and collage. These changes are set in the context both of the art that preceded them and of a new and profound shift in ideas. Theories of the unconscious, the association of ideas, primitivism, and reliance upon an expressionist intuition led to a reshaped conception of personal identity, and Butler examines the representation of the modernist self in the work of figures including Mann, Joyce, Conrad, and Stravinsky. Accessible and wide-ranging, the book is lavishly illustrated with over sixty illustrations, many in color. It provides an elegant and incisive guide to a momentous period in the history of European art.

The Canadian Modernists Meet is a collection of new critical essays on major and rediscovered Canadian writers of the early to mid-twentieth century. F.R. Scott's well-known poem 'The Canadian Authors Meet' sets the theme for the volume: a revisiting of English Canada's formative movements in modernist poetry, fiction, and drama. As did Scott's poem, Dean Irvine's collection raises questions - about modernism and antimodernism, nationalism and antinationalism, gender and class, originality and influence - that remain central to contemporary research on early to mid-twentieth-century English Canadian literature. The Canadian Modernists Meetis the first collection of its kind: a gathering of texts by literary critics, textual editors, biographers, literary historians, and art historians whose collective research contributes to the study of modernism in Canada. The collection stages a major reassessment of the origins and development of modernist literature in Canada, its relationship to international modernist literature, its regional variations, its gender and class inflections, and its connections to visual art, architecture, and film. It presents a range of scholarly perspectives, drawing upon the multidisciplinarity that characterizes the international field of modernist studies.

A richly illustrated cultural history of the midcentury pulp paperback "There is real hope for a culture that makes it as easy to buy a book as it does a pack of cigarettes."—a civic leader quoted in a New American Library ad (1951) American Pulp tells the story of the midcentury golden age of pulp paperbacks and how they brought modernism to Main Street, democratized literature and ideas, spurred social mobility, and helped readers fashion new identities. Drawing on extensive original research, Paula Rabinowitz unearths the far-reaching political, social, and aesthetic impact of the pulps between the late 1930s and early 1960s. Published in vast numbers of titles, available everywhere, and sometimes selling in the millions, pulps were throwaway objects accessible to anyone with a quarter. Conventionally associated with romance, crime, and science fiction, the pulps in fact came in every genre and subject. American Pulp tells how these books ingeniously repackaged highbrow fiction and nonfiction for a mass audience, drawing in readers of every kind with promises of entertainment, enlightenment, and titillation. Focusing on important episodes in pulp history, Rabinowitz looks at the wide-ranging effects of free paperbacks distributed to World War II servicemen and women; how pulps prompted important censorship and First Amendment cases; how some gay women read pulp lesbian novels as how-to-dress manuals; the unlikely appearance in pulp science fiction of early representations of the Holocaust; how writers and artists appropriated pulp as a literary and visual style; and much more. Examining their often-lurid packaging as well as their content, American Pulp is richly illustrated with reproductions of dozens of pulp paperback covers, many in color. A fascinating cultural history, American Pulp will change the way we look at these ephemeral yet enduringly intriguing books.

John McAndrew's Modernist Vision tells the compelling story of the architect, scholar, and curator John McAndrew, who played a key role in redefining modernism in the United States from the 1930s onward. The designer of the Vassar College Art Library—arguably the first modern interior on a college campus—and the curator of architecture at the Museum of Modern Art in New York from 1937 to 1941, McAndrew was instrumental in creating a distinct and innovative aesthetic that bridged the European modernist lineage and American regional vernacular. Providing a fascinating glimpse into McAndrew's life, his associations with important architects and artists, and the historical context that shaped his work, this book is a thoroughly researched testament to a man who left a powerful mark on the evolution of American architecture.